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Murthy SNB

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About Murthy SNB

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  • Birthday 08/02/1952

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    Bangalore INDIA

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  1. Murthy SNB


    Hi all, I am new to digital,going to shoot a feature film with EX3,& film out for theatrical release, please suggest me the exposure guides, precautions to take,Both Indoors & outdoors, what is the EI I should take? regards murthysnb Cinematographer.
  2. tell me what are the doubtful points pl
  3. Yes the Russian anamorphic glasses work perfectly and I have adapted one to my Eclair NPR & Zeiss 10-100 zoom lens, It works perfectly,the adaptation work should be precise It is regular 16 simply blown up to 35 to get 2.40:1 cinemascope, which result with thick frame line, no cropping either side or top/bottom full regular 16 frame fits to 1.33:1 35mm with 2.40:1 anamorphic, In projaection use normal 35mm gate, or even with anamorphic gate, the top/ bottom appear as black border, very simple, no techmical problems encountered down stream work flow, hugely cost saving in terms of Negtive cost, www.16mmcinemascope.com murthysnb cinematographer
  4. low-budget film makers & Directors, a great opportunity to reach BIG SCREEN shoot 16mm cinemascope DIRECT, go for regular blow-up to 35mm, get 35mm cinemascope print for theatrical release,a save of 75% on Neg.cost, No DI, save on DI cost. www.16mmcinemascope.com
  5. Murthy SNB


    I have converted my NPR with anamorphic lense,and I can shoot 16mmcinemascope, and with regular blow-up to 35mm we can get 35mmcinemascope print for theatrical release? www.16mmcinemascope.com
  6. Now it is possible to shoot Direct 16mm Cinemascope,and with regular blow-up to 35mm, and get 35mm cinemascope release print for theatrical release,with specially adapted cinemascope lenses for Eclair NPR,which is simple and can be blow-up printed in any processing Lab.which saves 75% 0n Neg,cost,does not require DI,again a save of DI cost on DI.a great advantage to budget film makers& Directors.
  7. pl send photo, specs,& price, moortysnb@yahoo.co.in
  8. The simplest way of shooting anamorphic in 16mm is to go for regular 16mm insted of super 16mm and having a anamorphic adaptor on prime lenses, and go for regular 35mm blowup, for theatrical release print, where youwill get the letterboxed cinemascope of 2.35:1 print, regarding the ground glass, you can shoot full frame within safe area square mark, you may not get the desqueezing in the finder, you have to get a bit adapted to the squeezed image in the viewfinder, Murthy SNB
  9. Thankyou Mr.Jonathan for kind answer, I have changed as the guideline suggested can you guide me about any opportunity to attend a lighting workshop? regards Murthy SNB
  10. Hi, What is that makes you DOUBT about my name ? MURTHY is indeed my ACTUAL / PROPER name, Since I am a Cinematographer of 20 yrs field experience, in feature films, and during my trip to UK, I wanted to gain more INSIGHT in to the Advanced lighting technics and artistic experience, and thought about possibilities of attending workshop regarding lighting, NOT A BEGINNERS INTRODUCTORY CLASSES, hence I thought that lighting forum be appropriate regards murthy
  11. I want to attend an INTERESTING, ABSORBING AND TO LEARN MORE ABOUT Feature Film Lighting, in London UK senior Cinematographers please SUGGEST, a short one in Oct, 07, Nov.07 would be Ideal for me, with regards murthysnb
  12. Shooting 16mm anamorphic 2:1, then do a normal/ regular bolwup 35mm release print for theatrical release is possible, but while blowup the 35mm full frame is not possible, and a letter boxed 1.85:1 frame will result out of the blowup, but with 2:1 squeeze, which will not have any complication in having screened in any commercial theatre, with a black border on top and bottom which will not be noticed by any cinema viewer and will not affect the viewer, I am doing the anamorphic 16mm shooting for low budget feature films with adapting 35mm anamorphic lenses on to Eclair NPR 16mm and they are bulky sure but for the low budget commercial features it is worth taking the trouble and complications, which are released in a limited theatrical release,with commercial viability,
  13. The NPR is with registration PIN, and runs 4-40 fps, ACL does not have registration Pin, and runs up to 75 fps, may be NPR is heavy but also sturdy with rock steady images, and 35mm blowup prints for theatrical release are sure advantage,
  14. Kodak do have their own lab in Mumbai,for negetive processing only, and Prasad lab Bangalore is also accredited by kodak, As pytalk mentioned you can get the stock by contacting Mr.Ananth of kodak bangalore, his mobile No.is 9886008642 Murthy
  15. No you need not worry,shooting with bolex hand held murthysnb
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